Francesca Woodman

1975-77

Gift of the photographer to the present owner, when students together at the Rhode Island School of Design in the 1970s

This print, on medium-weight paper with a surface sheen, is in generally very good to excellent condition. A barely noticeable 1/4-inch surface scratch and a tiny chip in the emulsion appear in the upper right margin corner, neither of which disturbs the image. In raking light, a few soft handling creases are visible, none of which breaks the emulsion. These issues are negligible and do not affect the print's attractive appearance.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

Influential Seattle-based glass artist Benjamin Moore (b. 1952) met Francesca Woodman in the late 1970s at the Rhode Island School of Design, where Woodman was an undergraduate and Moore was an instructor earning his M. F. A.  World-renowned glass master Dale Chihuly established the glass program at RISD in 1969, and Moore was both his student and first assistant for a number of projects beginning in 1977.  During 1978-79 Moore honed his signature style—minimal decoration, bright colors, and simple, timeless shapes—under the tutelage of Francesco Ongaro at Venini Fabbrica in Murano.  He appears in at least two other published photographs with Woodman, from 1977-78 in Italy (cf. Francesca Woodman, SFMoMA, 2011, p. 89 and Francesca Woodman, Zurich, 1998, p. 114).